Portrait of Daniele Barbaro

Last updated
Portrait of Daniele Barbaro
Daniele Barbaro.jpg
Artist Paolo Veronese
Yearc.1556–1567
MediumOil on canvas
Dimensions121 cm× 105.5 cm(48 in× 41.5 in)
Location Rijksmuseum, Amsterdam

The Portrait of Daniele Barbaro is an oil on canvas painting by the Italian Renaissance master Paolo Veronese, from c. 1556-1557. It is held in the Rijksmuseum, in Amsterdam. Daniele Barbaro was a member of the Venetian aristocracy (see Barbaro family). He was an important prelate, humanist and architectural theorist, who commissioned a number of works from Veronese. Veronese had been involved directly with Barbaro and his brother Marcantonio Barbaro, decorating the Villa Barbaro, Maser, which Palladio designed.

Contents

Barbaro, who was Patriarch of Aquileia, is dressed as a bishop. From 1561 he was also a cardinal; although this appointment was in pectore (not made public) he is sitting in the audience posture (reserved normally for Popes and cardinals).

The book standing up is the La Practica della Perspettiva, Barbaro's treatise on artistic perspective. [1] The other volume on the table is Barbaro's "Commentary" on Vitruvius' De architectura , [2] which has illustrations by Andrea Palladio. Barbaro's Commentary on Vitruvius was published in Italian in 1556, but the portrait may be linked to the publication of a second edition in Latin in the 1560s.

Two portraits reunited

Barbaro was also portrayed by Titian around 1545 in two versions in the Museo del Prado and the National Gallery of Canada. To commemorate the 500th anniversary of his birth, two portraits of Daniel Barbaro were brought together for a Venice exhibition in 2015, the painting by Titian from the Museo del Prado, and this painting from the Rijksmuseum. [3]

Portrait by Titian Daniele Barbaro by Titian.jpg
Portrait by Titian

Portrait in the Pitti Palace

There is a portrait by Veronese in the Pitti Palace, Florence, which has been described as Barbaro dressed as a Venetian aristocrat, but this identification is not certain.

Portrait of a gentleman in a fur by Veronese, previously identified as Daniele Barbaro Paolo Veronese 016.jpg
Portrait of a gentleman in a fur by Veronese, previously identified as Daniele Barbaro

Related Research Articles

<span class="mw-page-title-main">Annibale Carracci</span> Bolognese painter (1560–1609)

Annibale Carracci was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the Palazzo Farnese would be highly influential in Roman painting for decades.

<span class="mw-page-title-main">Paolo Veronese</span> Italian Renaissance painter

Paolo Caliari, known as Paolo Veronese, was an Italian Renaissance painter based in Venice, known for extremely large history paintings of religion and mythology, such as The Wedding at Cana (1563) and The Feast in the House of Levi (1573). Included with Titian, a generation older, and Tintoretto, a decade senior, Veronese is one of the "great trio that dominated Venetian painting of the cinquecento" and the Late Renaissance in the 16th century. Known as a supreme colorist, and after an early period with Mannerism, Paolo Veronese developed a naturalist style of painting, influenced by Titian.

<span class="mw-page-title-main">Lorenzo Lotto</span> Italian painter (c. 1480–1556/57)

Lorenzo Lotto was an Italian Renaissance painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits. He was active during the High Renaissance and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists.

<span class="mw-page-title-main">Vincenzo Scamozzi</span> 16th century Italian architect

Vincenzo Scamozzi was an Italian architect and a writer on architecture, active mainly in Vicenza and Republic of Venice area in the second half of the 16th century. He was perhaps the most important figure there between Andrea Palladio, whose unfinished projects he inherited at Palladio's death in 1580, and Baldassarre Longhena, Scamozzi's only pupil.

<span class="mw-page-title-main">Andrea Palladio</span> 16th-century Italian Renaissance architect of the Republic of Venice

Andrea Palladio was an Italian Renaissance architect active in the Venetian Republic. Palladio, influenced by Roman and Greek architecture, primarily Vitruvius, is widely considered to be one of the most influential individuals in the history of architecture. While he designed churches and palaces, he was best known for country houses and villas. His teachings, summarized in the architectural treatise, The Four Books of Architecture, gained him wide recognition.

<span class="mw-page-title-main">Alessandro Vittoria</span> Italian sculptor (1525–1608)

Alessandro Vittoria was an Italian Mannerist sculptor of the Venetian school, "one of the main representatives of the Venetian classical style" and rivalling Giambologna as the foremost sculptors of the late 16th century in Italy, producing works such as Annunciation.

<i>The Wedding at Cana</i> 1563 painting by Paolo Veronese

The Wedding at Cana, by Paolo Veronese, is a representational painting that depicts the biblical story of the Wedding at Cana, at which Jesus miraculously converts water into red wine. Executed in the Mannerist style (1520–1600) of the late Renaissance, the large-format oil painting comprehends the stylistic ideal of compositional harmony, as practised by the artists Leonardo, Raphael, and Michelangelo.

<span class="mw-page-title-main">Daniele Barbaro</span> Italian cleric and diplomat

Daniele Matteo Alvise Barbaro was an Italian cleric and diplomat. He was also an architect, writer on architecture, and translator of, and commentator on, Vitruvius.

<span class="mw-page-title-main">Barbaro family</span> Patrician family of Venice

The Barbaro family was a patrician family of Venice. They were wealthy and influential and owned large estates in the Veneto above Treviso. Various members were noted as church leaders, diplomats, patrons of the arts, military commanders, philosophers, scholars, and scientists.

<span class="mw-page-title-main">Villa Barbaro</span> Building in Veneto, Italy

Villa Barbaro, also known as the Villa di Maser, is a large villa at Maser in the Veneto region of northern Italy. It was designed and built by the Italian Renaissance architect Andrea Palladio, with frescos by Paolo Veronese and sculptures by Alessandro Vittoria, for Daniele Barbaro, Patriarch of Aquileia and ambassador to Queen Elizabeth I of England and his brother Marcantonio, an ambassador to King Charles IX of France. The villa was added to the list of World Heritage Sites by UNESCO in 1996.

<span class="mw-page-title-main">Giovanni Battista Zelotti</span> Italian painter (1526–1578)

Giovanni Battista Zelotti was an Italian painter of the late Renaissance, active in Venice and her mainland territories.

<span class="mw-page-title-main">Venetian painting</span> Art from the Republic of Venice

Venetian painting was a major force in Italian Renaissance painting and beyond. Beginning with the work of Giovanni Bellini and his brother Gentile Bellini and their workshops, the major artists of the Venetian school included Giorgione, Titian, Tintoretto (1518–1594), Paolo Veronese (1528–1588) and Jacopo Bassano (1510–1592) and his sons. Considered to give primacy to colour over line, the tradition of the Venetian school contrasted with the Mannerism prevalent in the rest of Italy. The Venetian style exerted great influence upon the subsequent development of Western painting.

<i>Danaë</i> (Titian paintings) Several paintings by Titian

The Venetian painter Titian and his workshop made at least six versions of the same composition showing Danaë, painted between about 1544 and the 1560s. The scene is based on the mythological princess Danaë, as – very briefly – recounted by the Roman poet Ovid, and at greater length by Boccaccio. She was isolated in a bronze tower following a prophecy that her firstborn would eventually kill her father. Although aware of the consequences, Danaë was seduced and became pregnant by Zeus, who, inflamed by lust, descended from Mount Olympus to seduce her in the form of a shower of gold.

<i>Venus and Adonis</i> (Titian) Series of paintings on the same subject by Titian and his workshop

A composition of Venus and Adonis by the Venetian Renaissance artist Titian has been painted a number of times, by Titian himself, by his studio assistants and by others. In all there are some thirty versions that may date from the 16th century, the nudity of Venus undoubtedly accounting for this popularity. It is unclear which of the surviving versions, if any, is the original or prime version, and a matter of debate how much involvement Titian himself had with surviving versions. There is a precise date for only one version, that in the Prado in Madrid, which is documented in correspondence between Titian and Philip II of Spain in 1554. However, this appears to be a later repetition of a composition first painted a considerable time earlier, possibly as early as the 1520s.

<i>Portrait of a Gentleman in a Fur</i> Painting by Paolo Veronese

The Portrait of a Gentleman in a Fur is an oil painting by Paolo Veronese measuring 140 centimetres (55 in) by 107 centimetres (42 in), dated to c. 1550–1560 and now in the Galleria Palatina in Florence. Another version exists at the Museum of Fine Arts in Budapest. The painting's subject is unknown: Daniele Barbaro has been suggested, but this is contradicted by a confirmed portrait of him held at the Rijksmuseum in Amsterdam.

<span class="mw-page-title-main">Venetian Renaissance architecture</span>

Venetian Renaissance architecture began rather later than in Florence, not really before the 1480s, and throughout the period mostly relied on architects imported from elsewhere in Italy. The city was very rich during the period, and prone to fires, so there was a large amount of building going on most of the time, and at least the facades of Venetian buildings were often particularly luxuriantly ornamented.

Giovan Antonio Rusconi was a Venetian architect, hydraulic engineer, translator and illustrator of Vitruvius.

<span class="mw-page-title-main">Venetian Renaissance</span>

The Venetian Renaissance had a distinct character compared to the general Italian Renaissance elsewhere. The Republic of Venice was topographically distinct from the rest of the city-states of Renaissance Italy as a result of their geographic location, which isolated the city politically, economically and culturally, allowing the city the leisure to pursue the pleasures of art. The influence of Venetian art did not cease at the end of the Renaissance period. Its practices persisted through the works of art critics and artists proliferating its prominence around Europe to the 19th century.

<i>Christ Among the Doctors</i> (Veronese) Painting by Paolo Veronese

Christ Among the Doctors is a painting in oils on canvas by Paolo Veronese, now in the Museo del Prado in Madrid. Its dating has been the subject of debate – the date 1548 appears on a book held by a figure seated on the stairs in the foreground, but in 1976 Diana Gisolfi Pechukas posited 1565 as the earliest possible date for the painting's production.

<i>Penitent Magdalene</i> (Titian, 1550) Painting by Titian

Penitent Magdalene is a c. 1550 oil on canvas painting by Titian, now in the Museo di Capodimonte in Naples.

References

  1. (in Italian) Il Rituale… article by Maurizio Nicosia
  2. Rijksmuseum Accessed December 2008 (when this source referred to the painting being in London on loan from the Rijksmuseum, Amsterdam).
  3. Portraits of Daniele Barbaro by Titian and Veronese at the Palazzo Cini on Palazzo Cini website